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Hannibal – Sorbet (Review)

Hannibal took its time building up Hannibal Lecter as a serial killer. According to creator Bryan Fuller, there would have been a joke in Aperitif about Lecter’s culinary habits, but holding off on the sight of Lecter as a serial killer until the end of Entrée feels like it was a shrewd move. Not because it could ever fool the audience into forgetting that Hannibal Lecter is a murdering cannibal or anything like that. Instead, it builds up a certain amount of tension and suspense around the character, allowing us to see how those around him could have been blinded by his persona.

With a few obvious exceptions – knocking out Doctor Bloom in Potage or phoning the Hobbs household in Aperitif – we’ve mostly seen Lecter through the eyes of others. While the very premise of the show counts on the audience knowing who or what Lecter is, keeping him at a distance allowed the show a bit of breathing room in its first year. However, now that we’ve caught a glimpse of Lecter in action, Sorbet feels like its willing to pull back the layers on our eponymous epicurean.

Best served warm...

Best served warm…

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Hannibal – Entrée (Review)

It’s nice that we got this far into the season before Entrée was necessary. It’s the kind of episode that a show like Hannibal was always going to have to produce relatively early on, allowing it to air the laundry, so to speak, and to overtly and clearly distinguish itself from a popular predecessor. In this case, it’s The Silence of the Lambs.

Although we haven’t met Clarice Starling yet, although the credit at the start of each episode cites Red Dragon as the show’s inspiration, it’s hard to escape the shadow of one of the most popular horror films ever made. Many argue that The Silence of the Lambs was the first film to win the Best Picture Oscar. Even today, it remains a cultural touchstone, and there’s an incredibly large number of people who are only familiar with the character of Hannibal Lecter through that story and – in particular – through the film adaptation.

Hannibal hasn’t been shy about referencing The Silence of the Lambs, nor should it be. Crawford’s office from the start of Aperitif seems arranged in homage to the film, while the arrangement of two of the victims in Coquilles couldn’t help but evoke Hannibal’s dramatic escape from his cell at the film’s climax. Still, that doesn’t change the fact that Entrée exists mainly to allow the show to indulge and engage in the imagery and iconography of the film, so that Hannibal can truly distinguish itself.

"Oh, goodie..."

“Oh, goodie…”

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Hannibal: Coquilles (Review)

I feel a little bad now. I spent a lot of time in Amuse-Boche and Ceuf complaining about the possibility that Hannibal might turn into a serial-killer-of-the-week procedural, at a time when the networks are over-saturated with that sort of forensic drama. However, Coquilles manages to be a pretty superlative hour of television despite feeling like a pretty conventional “catch the serial killer” story. The key is in the execution, with Coquilles serving as a rich character-driven drama that just happens to involve the hunt for a gruesome serial killer.

It also helps that the “angel maker” feels like a refugee from an early draft of a Thomas Harris novel rather than a bland psychopath of the week.

Served...

Served…

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Non-Review Review: Hannibal

I actually have a bit of a soft spot for Hannibal. I think the key to enjoying and appreciating Ridley Scott’s 2001 serial-killer film is to realise that it’s a fundamentally different animal to The Silence of the Lambs, to the point where it isn’t really a sequel – despite featuring many of the same characters and considerably fewer of the same actors. Those expecting a faithful follow-up or conclusion will be disappointed, as will those who fell in love with Jonathan Demme’s delightfully understated The Silence of the Lambs. Even the title character here seems to lack the complexity he demonstrated in that earlier instalment, instead acting like the villain of a slasher film cast in the unlikely role of an anti-hero.

Still, despite these flaws, Hannibal is quite entertaining (if far too uneven and unsatisfying) on its own terms.

She looks good enough to eat…

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Non-Review Review: Boyz N The Hood

Boyz n the Hood remains a powerful, moving and depressing piece of cinema. Director John Singleton has arguably failed to match this impressive debut effort, but there’s no shame in that. Most directors will go entire careers without offering a film that so effectively captures a slice of life. Reportedly based on a lot of the director’s own experiences growing up in South Central L.A., it’s a very strong and very personal piece of film, and one that hasn’t been diminished in the years that followed its release.

As happy as Larry?

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Non-Review Review: Contagion

It’s somewhat ironic that the biggest fault with Contagion is that it’s not nearly clinical enough. Soderbergh’s exploration of the impact of a mass pandemic actually works best when the director pulls back to give us a high-level overview of a society collapsing, the individual lives reduced – appropriately enough – to microscopic cells in a larger organism in what might be its death throes. It’s these sequences and shots that are brilliantly effective, demonstrating the systemic and group dynamics that enable and facilitate the spread of a deadly bird flu variant, while the more intimate moments feel awkward and shoehorned in, never afforded enough space to develop character or plot lines. Still, if you pull back and look at the big picture, Soderbergh’s latest effort is an engaging ambitious disaster movie.

One sick picture...

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Non-Review Review: The Matrix

Today I’m taking a look at the Matrix trilogy. All three films, all watched and reviewed in one day. Join us for the fun! All three reviews will be going on-line today.

Part of me wonders if The Matrix has been somewhat tarnished by its two sequels and countless spin-offs, video-games, tie-ins and “expanded universe” material. I mean, you can pick any number of iconic pop culture moments from the original film (from “I know kung-fu” to “whoa” to “stop trying to hit me and hit me”), but you’re left with a third film in the trilogy that ultimately grossed less than the original. Watching the entire trilogy back-to-back helps the later films seem much stronger, but it also perhaps helps illuminate what was missing from the following two films that made the original such a classic.

Bending over backwards to make a good movie...

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Non-Review Review: Predators

It must be genuinely one of the toughest and most unforgiving tasks in moviedom to produce a belated sequel to a beloved franchise. Even Spielberg and Lucas messed up in producing the long-delayed Indiana Jones & The Kingdom of the Crystal Skull or Lucas’ prequels to Star Wars. The original film has just been lying there so long that it has built up its own legacy and reputation – to the point where it’s arguably not so much a film as a legend. Okay, maybe the original Predator and the modern Predators shouldn’t really be classified as legends in the same way as the earlier examples (or, say Chinatown and its disappointing follow-up The Two Jakes), but this is undeniably a cult franchise. The good news is that – while far from perfect – Predators actually lives up to its legacy quite well.

Preying for a way out...

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The Leading Man Swap-Out…

I live in the same house as my gran (I reckon I’m young enough that it’s still cute rather than creepy), and last week a new boxset of her pet obsession – CSI – arrived in the door. Since she’s in bed shortly after I get home from work, the two of us have been watching episodes of the ninth season of the seminal forensic “drama” (it’s more science-fiction or fantasy, but let’s not quibble). It’s the season that sees former hot young actor of the eighties, William Peterson, replaced by former hot young actor of the nineties, Laurence Fishburne. I’ll admit I haven’t yet watched every episode, but it’s surprising how much I’m not missing the lead who coaxed the show through nearly a decade of airtime. Has CSI seemingly acheived the impossible? Has it successfully swapped out an established leading man?

A Fish(burne) out of water?

A Fish(burne) out of water?

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Non-Review Review: 21

21 is a solid middle-of-the-road coming-of-age tale. It isn’t something as deep or insightful as Good Will Hunting or The Dead Poets Society, but it doesn’t aspire to be. It sets its ambitions relatively averagely: it wants to entertain and amuse rather than stimulate or provoke. Does it succeed at these somewhat modest ambitions? Somewhat.

"You know what I'm capable of... You seen se7en, right? 21 is three times se7en. You do the math."

"You know what I'm capable of... You seen se7en, right? 21 is three times se7en. You do the math."

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